I have fond memories from Junior High of early, and I do mean early (6:30am), rehearsals the week leading up to the Concert Band Contest. These were additional rehearsals outside of the already allotted band rehearsals scheduled during 5th and/or 6th period. We were expected to get there on time, fifteen minutes early, so that we could warm up and be ready for the down beat. Remember, "If you are early, you are on time; if you are on time, you are late; if you are late, you are early for tomorrow".
What did we do at these rehearsals? We didn't play more than two notes, maybe. We rehearsed standing as a ensemble, sitting as an ensemble, uniform (by section) instrument placement depending on where the conductor was or what his arms were doing, bowing as an ensemble, and "NO[T] GAWKING" at the audience. Basically, we rehearsed the performance minus the playing.
Why do I bring this up? Well, in every ensemble I have been in, ever, I wished and continue to wish that such etiquette was practiced on a rehearsal to rehearsal to performance basis. I find the older I get, the less the ensembles I play in are lectured about such things. Posture goes by the wayside and performances seem less prepared.
The following are my two cents on rehearsal to performance etiquette. Much of this is from my Jr. High Band director, but it is an important part of performing. Music is a form of entertainment and therefore theatrical in many ways.
Posture: I was told, very early on, to sit near the edge of my seat so that my feet could comfortably rest flat on the floor, providing the rest of me a solid foundation. Sitting near the edge of the seat made it infinitely more difficult to slouch against the back of the chair. I had to sit up straight; this is good for breathing, so not much to complain about there. Sitting that far forward also made it difficult to rest my right elbow on the top of the chair - this is primarily a flute problem. Lazy players will put their elbow on the back of the chair to help support their arm, because, you know, the flute is a super heavy instrument. All you other instrumentalists can laugh, but every section has its bad habits. One more thought: when you are playing your flute, the flute should be, roughly, parallel to the ground. No odd angles, please, as it will mess with the rest of your posture and your ability to breathe.
Stand Placement: Your stand should be set up so that it is high enough for you to read music easily, but low enough that 1) your sound isn't blocked, 2) you can see the person across from you (in my case it is always a clarinet player. Unless I am in orchestra and then it is the back of the heads of the viola section), and 3) you can easily make eye contact with the conductor. There is a happy medium stand height range in there. And remember, your eyes can move up, down, left, and right. Your head shouldn't move.
"Silence is our canvas": This was said in the middle of a rehearsal while I was in college. It made all of us laugh because of the timing and delivery of the line, but it is so very true. Talking and unsolicited noise prior to the beginning of a piece ruins the atmosphere. It also creates an unstable foundation for the first note of the piece. And of course, it is a distraction that could cause someone to miss their entrance. It would be unrealistic to have no talking during a rehearsal, but keep it to a minimum. And as soon as the conductor raises his arms, you should be able to hear a pin drop. Furthermore, being aware of the need for silence and observing it will make it easier to transition into the performance atmosphere.
Beginning and Ending the Piece: Each piece begins and ends with silence and minimal movement, if any. When the conductor's hands go up, you ought to immediately prepare to play. Your flute goes up to playing position and you take a breath to prepare for the entrance. At the end of the piece, after the last note, you maintain playing position until the conductor lowers his arms. If the piece ends and you immediately drop your flute, the moment is ruined and the ambiance is gone. Finally, before the piece begins, make sure that you are ready to play. What I mean is that there is a process that many young musicians ignore. The flute comes to playing position, you take a breath, you set your embouchure, and
then you begin to play. I have been guilty of the following and I see/hear it a lot as well: the breath, and then simultaneously set the embouchure and begin playing. Has anyone ever gotten a clean articulation that way?
Uniform Instrument Placement: This is perhaps a bit nit picky, but theater is theater. When you are "at ease" and the piece has yet to begin, the flute can lay across your lap. That's a natural and comfortable position. Once the piece begins, if you are not playing, I like to see the flute standing on the right thigh. It shows that you are alert and that you are part of the music that is happening.
Rests during the Performance: NO GAWKING!!! So you aren't playing because you have the piccolo part and there are at least forty measures of rest before you come in - whatever you do, do not stare mindlessly out, anywhere really but especially at the audience. They are here to watch and listen to you. Not the other way around. Try to look at either your own music or the conductor (occassionaly - don't awkwardly stalk the conductor). Look like you are still part of the music being heard even though you aren't necessarily contributing to the sound. However, there are times when you acknowledge the audience, usually when they are welcoming someone on stage or clapping at the end of a piece. Those would be appropriate times to turn and face the audience and smile at them. They should feel like you are excited to be playing for them and that there is nowhere else you would rather be. Besides, that's true, right?
As tedious as it may seem, thinking about these tiny details during each rehearsal will help you in the performance because they will become second nature. Break a leg in your upcoming performances!
